Modality and Anti-Metaphysics critically examines the most prominent approaches to modality among analytic philosophers in the twentieth century, including essentialism. Defending both the project of metaphysics and the essentialist position that metaphysical modality is conceptually and ontologically primitive, Stephen McLeod argues that the logical positivists did not succeed in banishing metaphysical modality from their own theoretical apparatus and he offers an original defence of metaphysics against their advocacy of its elimination. -/- Seeking to assuage the sceptical worries which underlie modal (...) anti-realism, McLeod provides an original contribution to essentialist epistemology, engaging with current debates about modality and suggesting that standard essentialist approaches to some issues in the philosophies of logic and language require revision. -/- This book offers valuable insights to professional philosophers, postgraduates and advanced undergraduates interested in metaphysics, philosophy of logic or the history of twentieth-century analytic philosophy. (shrink)

This paper argues that Hegel's depiction of knowledge, as presented in the Encyclopaedia philosophy of subjective Spirit, is founded on what he deems to be the practical interests of self-consciousness. More specifically, it highlights the significance of the will in Hegel's understanding of the cognitive process. I begin with a survey of the relation between category-formation and the notion of self-determining freedom in the Logic , and therewith draw attention to the unity of thinking and willing in the Concept. I (...) then indicate how Hegel's philosophy of subjective Spirit should be read as the applied logic of the Concept, according to which the socially constituted self-conscious I seeks to realise its claims to freedom through its theoretical cognitions of objects. As part of what could be called Hegel's integrative theory of the faculties, I finally argue that the will underscores both the determinate character of our theoretical cognitions and the reflexivity of knowledge in general. On this score, I maintain that Hegel, whose relation to Kant and Fichte I also consider, is of the view that it is with reference to willing that we can account for the self-referential nature of reason in toto as the actualised unity of theoretical-practical subjectivity. (shrink)

Dance receives relatively little attention in the history of philosophy. My strategy for connecting that history to dance consists in tracing a genealogy of its dance-relevant moments. In preparation, I perform a phenomenological analysis of my own eighteen years of dance experience, in order to generate a small cluster of central concepts or “Moves” for elucidating dance. At this genealogical-phenomenological intersection, I find what I term “positure” most helpfully treated in Plato, Aristotle and Nietzsche; “gesture” similarly in Condillac, Mead and (...) Kristeva; “grace” in Avicenna, Schiller and Dewey; and “resilience” in Fanon, (Judith) Butler and Deleuze. With these analyses in place, I apply the four Moves in analyzing various forms of dancing (including salsa dancing and the pollen dance of the honeybee) and coordinate them to outline a comprehensive philosophy of dance. This philosophy points to certain conditions for an ideally flourishing, dancing society. And these conditions create the possibility for a coalition of sympathetic discourses (including critical race theory, queer theory, disability studies and democratic theory) united in pursuit of political virtue. The development of a philosophy of dance offers a deeper understanding of the intellectual values of a practice often identified with bodily immediacy and therefore judged uninteresting. It also reinvigorates philosophy with the dynamism and bodily relevance of the practice of dancing. Most important, it demonstrates the meaningful intersection of aesthetics and political ethics, by exploring how aesthetic practices underlie and inspire human flourishing. (shrink)

In the first section of this essay, I offer a brief overview of Hegel’s dozen or so mentions of dance in his Lectures on Aesthetics, focusing on the tension between Hegel’s denigration of dance as an “imperfect art” and his characterization of dance as a potential threat to the other arts. In the second section, I turn to an insightful essay from Hans-Christian Lucas on Hegel’s “Anthropology,” focusing on his argument that the Anthropology’s crucial final sections threaten to undermine Hegel’s (...) entire philosophy. And in the final section, I offer my own reading of the Anthropology, connecting the threads of my previous two sections. More specifically, I attempt to show that Hegel has in effect quarantined dance in what he terms “the dark regions” of madness in “The Feeling Soul.” Overall, I suggest that this quarantining is ultimately as problematic for Hegel as it has been for dance. Because without dance, complete with its associations with people disempowered in their embodiment, this crucial transitional section in the Anthropology remains burdened with a corporeal remainder that problematizes the entire system. Put simply, Hegel must – by his own logic – learn to dance gracefully with those he would rather shun. (shrink)